Les cols autour de Grenoble

Bergkirche mit typisch dauphinoisischem Glockenturm und 8 Glasfenstern, die vom Maler Arcabas entworfen und vom Glasermeister Christophe Berthier hergestellt wurden.Die Kirche von Le Sappey-en-Chartreuse dient seit fast neun Jahrhunderten als symbolische Landmarke am Straßenrand am Eingang eines von religiöser Spiritualität geprägten Gebirgsmassivs. Das Gebäude ist seit 1115 an diesem Ort bezeugt und wurde im 17. und 19. Jahrhundert mit Hilfe der Mönche der Grande Chartreuse umgebaut. Die acht Glasfenster, die die Kirche schmücken, sind ein Werk von Arcabas. Sie stellen die Auferstehung Christi dar und wurden von dem in Grenoble ansässigen Glasbläsermeister Christophe Berthier angefertigt.

The renovated property of painter Ernest Hébert invites visitors to step into the artist's 19th century world and to discover his work through the presentation of his collections.The Hébert museum of La Tronche is a somewhat unusual museum: sheltered behind walls, this two and a half hectare estate has protected itself from the wears of time. The artist's house has held onto the spirit of the place and the intimate character of a family house. The garden, sometimes hidden in the shadows, still holds onto the artist's memories of Italy. The museum, as soon as it opened in 1979, set a double mission for itself: encourage a better knowledge of 19th century art through the artist's collection and to promote contemporary artists, both aspiring and confirmed. The permanent exhibit halls take the visitor on a journey through Ernest Hébert's long artistic career via his works and those of his friends. They illustrate the academics, whose complexity and importance we are rediscovering today and which sheds light on official art. Between the romanticism of Eugene Delacroix and the symbolism of Gustave Moreau, Hébert paves the way for a deeper understanding of 19th century aesthetic movements. The painter Ernest Hébert (1817-1908), after having studied at l'Ecole des Beaux Arts de Paris and winning the Grand Prix of Rome for historic painting, became famous with "La Malaria" which he presented at the 1850 Salon. A flourishing career was set before him and he shared his time between France and Italy, where he served twice as director of the Academy of France in Rome (1867-1873 and 1885-1890). He very soon became a sought-after portraitist for high Parisian society during the Second Empire and Third Republic, where he frequented upper class salons. Hébert keenly expressed the poetry and secrecy of his feminine models, but it was in Italy that he found the most inspiration, preferring to depict rural scenes imprinted with a melancholic realism. He was responsible for the mosaic on the apse of the Pantheon, inaugurated in 1884. The museum Through a chronological and thematic layout, the museum presents Hébert's work plus the paintings and sculptures of his friends and students. His years of study, his life at the Villa Medicis, his stays in Italy, the two terms he spent as a director, and his Parisian career are presented. The recreated studio has been restored to its original function. The numerous drawings included in the collection are presented in rotation, in the drawing room, set up in one of the house's bedrooms (2nd floor). The house The house recreates the atmosphere that the artist knew with its period furniture and souvenirs, including the restored Laetitia Bonaparte salon. The impressive 17th century frescoes, uncovered during renovation work, depict the ancient history of the house. Numerous testimonies from Hébert's mentors—David d'Angers, Delaroche, his friends from the Académie de France in Rome, Gounod, Regnault,--and his patrons—Théophile Gautier or Princess Mathilde—evoke his career as well as illustrating the artististic wealth of the prolific 19th century. The gardens Set aside from urban life, the museum's park, with its shaded alleyways, rippling brooks, and trellises, has held onto the charm of the artist's "secret garden." In 2004, it was recognized as a "Remarkable Garden," an award recently created by the Ministry of Culture and Communication. This label recognizes the garden's quality and charm, whose richness stems as much from its 17th and 18th century origins as from the modifications made by Ernest Hébert and his wife Gabrielle. The juxtaposition of well groomed, Italian style areas with English garden-type landscapes, the antique elements, and the numerous water basins are reminiscent of the Villa Medicis in Rome and make for an original setting, open freely to the public.

Das zweite erhaltene Stadttor der fünf Stadttore der Stadtmauer aus dem 17. Jahrhundert, das Porte Saint Laurent, wurde 1615 errichtet und ermöglichte es, über das rechte Ufer der Isère im Tal des Grésivaudan nach Savoyen zu gelangen.Die Porte Saint Laurent, die zu den neuen kasemattierten Befestigungsanlagen gehörte, die um 1830 von General Haxo errichtet wurden, und in der zweiten Hälfte des 19. Jahrhunderts durch den Bau der Isère-Kais, die so die Verkehrsströme aufnahmen, vor der Zerstörung bewahrt wurde, ist noch immer ein schönes Beispiel für die Verteidigungsarchitektur des 17. In dieser Hinsicht ist die Außenfassade auf der Seite von La Tronche am interessantesten. Dort sind noch immer die Maschikulis zu sehen, die den gewölbten Durchgang schützen, sowie die beiden Bretèches, die die Fußgängertore verteidigen sollten. Das Tor Saint Laurent ist das einzige, das noch seine schweren Holzflügel aus dem 19. Bis 1864 waren die Stadttore von 22.00 bis 7.00 Uhr morgens geschlossen. Das Tor Saint Laurent hingegen war ab 5 Uhr morgens geöffnet. Das Gebäude wurde 1931 in die Liste der eingetragenen Bauwerke aufgenommen.

Built in 1837 and modernized in 1909, it is located where first bridge of the city (end of the 11th century) once stood. This original bridge was often destroyed by the Isère's rise in the water level.The bridge was for a long time the only passageway over the Isere river. Until the floods of 1651, the old bridge featured a chapel of Our Lady and an animated wooden sculpture that rang out the hours.